When going over these exercises again, I decided to complete some additional editing on this image to bring out the colours of the surroundings. Tasha Marie’s work is all very bright and beautiful, magical and whimsical and I felt mine was lacking that kind of boldness. I manipulated the saturation and just painted in certain areas and 50% Opacity, so to not make it look too false and ammeteur.
I have been creating homage’s since I first decided I was interested in photography. It’s not complicated, I saw an image I like and tried to recreate it myself. Gone are the days when I didn’t need to explain myself any further. I was rewarded for showing an ability to recreate elements of a photograph. Now its much more complex, at this stage in the game I have no desire to copy another photographers work, or admit to it. So, to look deeper into the meaning of a homage would be to replicate an aspect of an image, deeper than just its primary appearance. It might be a theme, or story present in the image. Where there appears to be no obvious story or scenario it might be a style or fashion (like in a portrait series). In modern post-production/editing it might be a particular obvious skill that wanted to be replicated. It’s so much more than simply copying an image.
Project 2: Photography as information
“Photographers… are in pursuit of possibilities that are still unexplored in the cameras programme, in pursuit of informative, improbable images that have not been seen before.”
(Flusser, 2000, p37)
Looking at the image on the front cover of Rinko Kawauch’s book ‘Illuminance’, although technically it would not be classed a ‘correct’ image, it coveys appropriate information for the book it is representing. Although in Art and Photography there is not correct way of creating, there are some guideline rules to help us aim for successful images, applauded by viewers. This over-exposed image on the cover of Kawauch’s book, breaks those rules, yet serves it own purpose and is successful in doing so. I believe is conveys the message the photographer/author wants the viewers to absorb, the theme of the book, the target audience. The book is clearly aimed at theologian artists, those that are interested to look beyond the image. Not so much for those who just wish to admire pretty images. The image is very abstract, although you can make out the shape of the rose, it is intriguing to think why the photographer was satisfied with this image as it is. Is there something the photographer noticed that I had not yet? Is it purposely over-exposed to hide some secret part of the image, to create a mystery? Or perhaps it is a challenge, to educate and lecture those on a deeper meaning.
Like most of my work nowadays I use the full Manual shooting mode, even on commissions and events. I know that I could probably save myself a lot of time, but I find it forces me to think about what I am doing and learn more about my settings, and how I manipulate each one to create a new look. Only recently I have been daring to go for a slower shutter speed without fear of camera blur. Previous to this I have had it in my head that I must have a Shutterspeed of 1/160 or more at all times. However, this has meant me compromising with things like a lower F stop or High ISO in order to compensate for the lack of exposure in my camera. I am relaxing more with this, but I am still a work in progress.
If the presets on my camera could be simplified and named according to how I use them, I suppose my desires and how the settings fit would be as follows:
- Soft Portrait – Low ISO, Medium Shutterspeed
- Bold Landscape – High exposure, Medium ISO, Medium Shutterspeed
- Sharp Masterpiece – Medium/High ISO, Medium/High Shutterspeed